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kontiki

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Reply with quote  #1 
Hello again, I put up a second youtube video for this great arrangement of this great tune. 

 I added an intro, a coda, and some passing chords here and there. I cheated a little by putting it into E instead of playing it in his original Eb (better for resonance and for avoiding getting a tendonitis for repeatedly stretching for 2 crazy voicings). the video quality is still terrible since i recorded it from my phone, but the audio is pretty good (In my opinion). As usual any feedback (verbal, not audio i hope)  is welcome.

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PaulV

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Reply with quote  #2 
Excellent!
Thanks for recording this and sharing it with us.
--Paul


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--Paul
barbarafranklin

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Reply with quote  #3 
A beautiful rendition - I posted a comment on your Youtube place.  (I hope it worked)  Again, echoing Paul, thanks for sharing.  Barbara

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GregB

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Reply with quote  #4 
That is really nice.  I like it a lot.
Sammo

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Reply with quote  #5 
That's awesome!!

May I ask what is the last chord of B-section (2:17)? And is passing chord after F#min7 at 2:32 G diminished with F# on top?  

Thanks for sharing,
Sampo
kontiki

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Reply with quote  #6 
Thanks for the encouraging words .  Yes, the passing chord after the F#min7 at 2:32 is a G diminished with F# on top. And the the last chord of B-section is a F/B or you could condider it a B7b9b5 (without the 3rd). Anyway, as you probably know, it's one of these Dominant type chords that comes out of the half-whole step diminished scale (in this case the B half-whole diminished scale).

there's also a passing chord at one point between the B7 and the Am7  i throw in a Bb9.  and maybe one or two others... I don't quite remember. Once I learn the arrangement it slowly gets personalized over time. I hadn't realized how much I had changed the "Shadow of your smile" version until I looked at it again after i made the video (gloops!).

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wkriski

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Reply with quote  #7 
Sounds great. Since you've changed keys, fingering and added intro,code, passing chords I think we can say it's your arrangement now!
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Will Kriski http://www.willkriski.com
kontiki

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Reply with quote  #8 
I definitely wouldn't say that. The heart and bulk of the arrangement is Ted's version. 
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Sammo

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Reply with quote  #9 
Thanks kontiki!

That F/B sound is something Joe Diorio would use a lot. Now I'll have to learn incorporate that.

Sampo
wkriski

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Reply with quote  #10 
I would say 'inspired by'
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kontiki

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Reply with quote  #11 
Sammo,

  One way I often use that chord (the F/B or B7b9b5 (without the 3rd)) is to go from a B7sus(or 9 or 13) to the F/B (if you have enough time to do so).

for example at that cadence (at the end of the B sectoin) right after the F#m7 you can go to a B7sus (or think of it as a A/B) and then go to the F/B.   Or you could even play the B7sus (A/B) instead of the F#m7. that would give you a bar for each chord, instead of  half a bar for each.


  so you could think of it in formula terms:  bVII/Root  to bV/Root    

bVII being an A  triad   and   bV being  an  F triad,      all with B (the root of the chord) in the bass.   I hope this isn't confusing...

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JeffStocksMusic

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Reply with quote  #12 

Beautiful.  Really rich tone from that nylon string and great feel and voicings.  Really well done!

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